The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A chance encounter on the London Underground in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."
While Enninful may seem wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."
A Cultural Backslide
This regression is hard to ignore: the resurgence of far-right politics, the reaction against social awareness, and the reassertion of narrow beauty standards. Replacing the optimism of the Blair era, currently a more divisive political personality looms as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again.
According to Enninful, the antidote has always been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from literature.
"Individuals with a platform should employ it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will end."
The Younger Generation's Awareness
He takes comfort in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."
Those early experiences would define a trailblazing career characterised by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Importantly, sales increased.
"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.
Beyond the Magazine World
He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "innovator".
"I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity between worlds."
In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His path has not been immune to challenges, including publicly shared periods of mental health and addiction.
He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."
Curating a Cultural Era
This refusal to be typecast has led him beyond the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time.
"Institutions didn't always promote the most relevant talents because they lacked the expected background," he observes.
The magazine 72 itself functions with a novel business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he feels, is a testament to the power of following your instincts.
How would the Enninful of that era make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."
He adds. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."
